Writing on Outrage

I had three wishes as a younger woman:

  1. I wanted to be an old woman.
  2. I dreamed of being serene, no longer subject to fits of anger and outrage.
  3. I longed for the wisdom of age that would stop me from making the same stupid mistakes, over and over again.

Only the first wish came true.

Anger, agitation, and outrage fuel my political writing.  I tone the rage down so it’s safe for public consumption, instead of being a chaotic string of expletives and, more importantly, I back up my rants with research and facts.

One of the many things that has pissed me off is how pundits and others minimize or dismiss allegations of sexual assault with “We can’t know the truth because it’s a he said/she said situation.”

Dipshits, I have news for you. All cases involve a he said/she said/they said dynamic. It’s called “testimony.” My latest for The Establishment, a fabulous feminist publication.

he said-she said

Bring Back the Salon – guest blog post by Sonja Johanson

Sonja Johanson’s guest blog post For Trish Hopkinson reflects the generosity and playfulness of her poetry. And I love the idea of getting together with friends for a salon to discuss books!

Trish Hopkinson

salon is a gathering of people under the roof of an inspiring host, held partly to amuse one another and partly to refine the taste and increase the knowledge of the participants through conversation. These gatherings often consciously followed Horace‘s definition of the aims of poetry, “either to please or to educate” (Latin: aut delectare aut prodesse). Salons, commonly associated with French literary and philosophical movements of the 17th and 18th centuries, were carried on until as recently as the 1940s in urban settings.
— Wikipedia

A few weeks ago a group of writer friends got together for a weekend to focus on (mostly) poetry, without distractions. Life is busy, schoolwork takes a lot of your energy (whether you are student or teacher), children and pets expect a basic level of care, jobs demand our mental attention, and it can be difficult to fit your own writing time into…

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Writing Memoir: Where’s the End?

A girl reading a book with the title “Where the World Ends.” Photo by Annie Spratton Unsplash

Where do I end the world of my memoir? The ending keeps getting further away from me.

Some well-worn advice is to end on an image, or an action, or with dialogue, or (very carefully) with a reflection.

I’ll stay away from the reflection possibility because of my bad habit of wrapping up any story or poem with a cutesy little bow.

One of the best essays I’ve read so far about ending a memoir is Leigh Stein’s HOW TO END A MEMOIR WITHOUT
GETTING MARRIED
. It appeals to me because Leigh shows herself struggling against the neatly tied up ending.

I love it when a book’s conflicts and themes get resolved. But not too resolved.

Author and writing coach Lynette Benton agrees and asks whether resolution is even necessary:

Do readers earn the right to a snug, reassuring wrap up to a memoir? Must the narrative of a segment of a life (which is what a memoir is) unfailingly end neatly? And even if it seems to, neither we, nor the narrator, can know for example, if the recovering addict falls off the wagon the very day we sigh with satisfaction over the end of an addiction memoir.

I have to choose an endpoint, and maybe I should choose based on the memorableness of the end-point. So here goes with examples of how I might use imageaction, and dialogue to conclude my memoir draft. Coming up with these examples may prove helpful, but right now they are just making me more indecisive.

My first instinct is to end on an image. In one scene from the middle of my current draft, I’m on the Tybee Island beach at night and the ocean has turned phosphorescent. My aunt starts telling the little kids that it’s magic fairies in the water, but my uncle starts explaining bioluminescence to them. When his wife objects, he says “They make their own damn light. Isn’t that magic enough?” I’d love to return to that image.

Vultures in a tree. by Casey Allen on Unsplash

Writers are such vultures, by the way. Another reason I can’t decide is that events keep happening that make me think “This would be a great ending to my memoir!”

I have a very big family, and someone is always saying or doing something that relates to my themes of finding identity and figuring out what makes a family stick together.

Maybe dialogue would work. Like when I was with my nephew and two of my nieces just before Christmas. They had a playful argument about “whose story was best,” of the ones I’d written about each of them: Alan MichaelTheresa, and BeeBee.

The joking conversation they had touched me deeply. I’m very lucky that my family supports my writing unconditionally, even when they know I’m in vulture mode, thinking about how I can use something they’re saying or doing in a poem or essay. I could end the memoir with their dialogue about their stories!

Or maybe an action is how the memoir should end. I recently published a short piece with Shondaland about searching for an Elvis tapestry that belonged to the mother I never met. If I use that action — the searching — I might be able to slap that already-written-essay onto the end of of the 80,000+ words I’ve written so far. So tempting!

What are your thoughts — are stories best when all their loose ends are tied up? Or do you like some ambiguity at the end? What are some of the best endings you’ve read or written?

Writing Memoir: Flashbacks and Braiding

Person standing still in front of a mural of a sneaker while cars zoom past. Photo by Ashim D’Silva on Unsplash

Real life happens chronologically, but memoirs and personal essays don’t have to. In fact, sometimes they shouldn’t if there’s some suspense or wisdom to be gained by juxtaposing events from various points in the past.

This technique is sometimes called using flashbacks. A more complex form of juxtaposing multiple times and threads is often called braiding.

Writers use several methods to alert readers to time changes in stories. The first involves simple signalling in phrases like “But ten years ago, I thought differently,” or “Two years before this event.”

A second method is to switch settings once you’ve already established a primary setting. An example might be found in a memoir about serving in the military in Vietnam. Whenever the writer flashes back to high school in America, we the readers will know that time has shifted too and that the high school is not in Vietnam.

Strong images or memorable characters associated with particular time periods can also serve as signals to the reader. A memoir that covers two marriages is one type of story that can use this technique, toggling back and forth between the two spouses or between two strong images like a granite fireplace in one marriage and a concrete swimming pool in another.

I’ve written a number of braided essays, and ironically that has made it difficult to compile them in my current memoir project, which is chronological. Maybe I should re-think that. But currently what I’m doing is chopping those essays up into their discrete times and threads in order to weave them back together in a chronological timeline.

One example of a braided essay that I’m currently chopping up is “Maternity Cave,” included in the March 2017 issue of Hippocampus. Like most of my publications, I worked on writing this piece for several years, and worked for even more years trying to figure out what the events in the story meant.

I don’t usually intend to braid different time periods, but it happens a lot. Every so often, a phrase or an image or a small event in daily life captures my attention as being connected to a phrase or image or event from the past. Those little a-ha moments are often the beginnings of my stories.

The maternity cave story begins in 2006 on a visit to a bat cave in Central Florida with my teenage niece Candi, where we saw thousands of little brown bats swirling up into the dusk, then it wiggles around in the 1990’s between my first marriage, my experience of infertility, and finding my birth family, and then it shoots ahead to a family picnic in 2016, when Candi is a grown woman with two children of her own. There was a moment at that picnic that lit up the past for me.

A bat hanging upside down in a cave. Photo credit http://www.hippocampusmagazine.com/2017/03/maternity-cave-by-michele-leavitt/
The story doesn’t follow linear time, and I’ve been thinking lately that’s one of the benefits of being a reader of personal essays: we get to experience hard-earned wisdom in a way that isn’t tied to chronology. We get to look back, be in the present, and jump ahead to the future in less time than it takes to bake a cake. There’s no undo or do-over button because truth doesn’t change, but at least we get to see truth’s trail.

Memoirs and personal essays are time capsules, freezing us in a series of moments. But they can be time machines, too, taking us forward and backward, allowing us to grab on to the hindsight and foresight in someone else’s experiences, even when that sort of wisdom escapes us in our own lives.

Writing on Politics: Part 2

It’s been a political couple of weeks for me in terms of writing. In addition to an op-ed for the Washington Post, I also wrote an op-ed for my local newspaper in support of a proposed amendment to the Florida constitution that would restore voting rights to most Floridaians who’ve been convicted of a felony.
Second Chances for Gville Sun
If you’re interested in writing for your local paper, the good news is that in most smaller markets, local newspapers will print editorials by citizens who write reasoned articles about relevant area issues. The bad news is that most local papers don’t offer payment to writers who aren’t on staff.

For me, writing occasional pieces for my local paper is a way of doing community service. I’m supporting local journalism, and offering perspectives I think are needed. In the past, I’ve written about the shameful history of lynching in our region and the necessity of training older workers for sustainable jobs.

I was motivated to write the current piece because the 21st century’s trend of mass incarceration is a travesty. Today’s criminal “justice” system is far more predatory and punitive than it was when I practiced as a public defender in the 1980’s and 1990’s. But two things have stayed the same: most of the people involved with the system are addicts or alcoholics, and prison doesn’t work.

Family has been another motivator for me. People who’ve been convicted of crimes find it very difficult to start over once their sentences are wrapped up, as I know from watching my brothers, nieces and nephews struggle to stay clean after being in prison.

If you’d like to write for your local newspaper, get in touch with the op-ed editor to find out if they print citizen articles. You can find contact info for the editor by consulting the paper’s masthead, or by simply calling the paper. Ask the editor what he or she is looking for in terms of word count, and if they have other guidelines. Then put your talent and skill in service of local journalism.

Write on.

Writing on Politics

Like many people in America, I’ve been following the Kavanaugh confirmation hearings. We all bring our experience to the table when analyzing the news, and I’ve been looking at the issues raised by these hearings as both a feminist and a former trial attorney.

Sometimes, anger motivates me to write. I want to figure out why I’m angry, what I can do about it, and whether my anger is valid. I mean “valid” in the logical sense.

This article, published last week by the Washington Post, concerns something I’ve been angry about since I was in law school: special terminology that sets alleged sexual assault victims apart from alleged victims of other crimes. As I note in the article, you never hear alleged robbery victims referred to as “the accuser,” and yet, this is the norm for the media in cases of sexual assault.

WaPo 2018-9-27

Poetry in Form: Prose Poems

Fungi circling a tree. Photo by Michele Sharpe
Pure-of-mind formalists might argue that the prose poem is not written in form at all, and some poets and critics have argued that prose poems aren’t poems — they are prose.

Controversy continues to rage on, but the two most authoritative American sources for information on poetry provide similar definitions

The Poetry Foundation defines the prose poem as:

A prose composition that, while not broken into verse lines, demonstrates other traits such as symbols, metaphors, and other figures of speech common to poetry. See Amy Lowell’s “Bath,” “Metals Metals” by Russell Edson, “Information” by David Ignatow, and Harryette Mullen’s “[Kills bugs dead.]”

The Academy of American Poets defines the prose poem as:

While it lacks the line breaks associated with poetry, the prose poem maintains a poetic quality, often utilizing techniques common to poetry, such as fragmentation, compression, repetition, and rhyme. The prose poem can range in length from a few lines to several pages long, and it may explore a limitless array of styles and subjects.

Labels seem to me to have a limited use. In my 30+ years of activity in the poetry community, I’ve seen the lines between poetry and prose continue to blur. In fact, some journals now expressly solicit work that defies easy labelling. They call it hybrid work.

As a recovering formalist and fuddy-duddy, I’m okay with saying that I doubted the prose poem once myself. But one day a subject and an image seemed just right for the prose poem (I admit it) form.

This baby below was originally published in the now-defunct but engaging magazine concīsThe “bastards” in the title doesn’t refer to nasty people. It refers to the original use of the word: people born out of wedlock, like me and many of my fellow/sister adoptees. For more on the adoptee rights movement, check out Bastard Nation.

Family Trees for Bastards

1. Dead so long, you can see right through them. The branches fell first, then the crown, then the bark sloughed off like snakeskin, and the cores collapsed, leaving suggestions of strong columns spun upward in helix fashion. Below the shifting leaf litter and sand, roots entwine with limestone. What’s left has put on the pocked and scored look of karst, but a tree remains a tree.

2. Dead, but still intact, this one has some juice for chalk-white fungi spiraling around its trunk. Shelves for tree frogs, pale question marks, frilled platters for dolls.

3. Still alive, this one ripped the floor with it. New name: windthrow. Had something loosed its anchorage and prepared it to let go? A hole opens in the canopy, saplings stuck in the pole stage wake. The earth that ripped with the tree, once part of a forest floor, now named a tip-up mound.

4. Pine cone. Alone on the floor, waiting for a fire to free its seeds. So it can start over.

Poetry on Environment

Butterfly on blossom. Photo by Stephen Mulkey.

Like many baby boomers, I recall a time when an unusually warm spring day was something to relish, not cause for anxiety about climate change.

My spouse, scientist Stephen Mulkey, is fond of saying, “Weather and climate are not the same thing,” but it’s natural for folks to experience weather as a harbinger of good or bad fortune, or of the changes to come.

The rainbow, the stormclouds, the hurricane, the cloudless sky, the tornado — all these have an emotional resonance for us. Because climate change is so centered on prediction, we can’t help but tie weather and climate together.

The industrial revolution sparked an interest in preserving the natural environment, an interest that continues today. One poem specifically in response to the industrial revolution is Gerard Manley Hopkins’ “God’s Grandeur.” Hopkins was a Jesuit priest who saw miracles in Nature and his God’s hand in all of those miracles.

Today, there are a number of magazines centered on environmental concerns that publish poetry. These include OrionTerrain, and Ecotone, to name a few.

The day the American government vowed to withdraw from the Paris Accord, Mobius: The Journal of Social Change published a new issue (28.2), which includes my poem, Gift Horse. I admit to being influenced by that science dude I’m married to!

Gift Horse

Mid-century, an early spring meant
taking off our shirts between the dunes in April
,
desperate as we were to air our skin out
after months cocooned in wool. 
Even the sand
felt good, scratching our backs. 
We crossed our arms
behind our heads and watched the mare’s-tail clouds
brush the blue from the sky
. Those stretches
of mild weather out of season — 
such gifts,
we never thought to check their teeth.